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2012 guide contents

Welcome from the Directors 4

16th Street Membership 5

Our Philosophy 6

The Full Time Program 8

Fave Actor Hangouts 12

Industry Endorsements 13

The Part Time Program 14

An Interview with Tony Knight 18

Great Texts on Acting 20

Scene Study 21

Studio Classes 22

Must Read Plays 24

Masterclasses for 2012 25

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The Ivana Chubbuck Masterclass 2012 26

The Ellen Burstyn Masterclass 2012 28

The Larry Moss Masterclass 2012 30

The Susan Batson Masterclass 2012 32

16th Street Recommends: Acting Schools in the USA 34

Other 16th Street Events 35

DVD Nights 36

Creative Services 37

The Pegasus Foundation 40

2012 Award Season Calendar 41

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diRectoRs’ MessAge

screen performance in Australia to run on a full-time basis It has produced outstanding graduates who are forging dynamic careers in the industry

We’re honoured to have been embraced as a trusted resource in the industry and recognised for our com-mitment to quality training This has been a pleasure and a privilege

We look to 2012 to expand our holistic approach to training and introduce new creative services to support actors navigate their careers

We are excited by our growing asso-ciation with the VCA School of Film & Television, Swinburne School of Film and Television and the screenwriting department at RMIT We believe it is important that emerging directors, writers and actors have opportunities to nurture relationships

WeLcoMe

We are delighted to launch into the year with our 2012 Actors Guide

This year at 16th Street Actors Studio we look to expand on our successes as we introduce new initiatives and classes We are thrilled to announce a bona fide legend of stage and screen, and Co-President of the renowned Actor’s Studio in New York, Ellen Burstyn, will join our line-up of Master Teachers for 2012

Esteemed acting coaches Ivana Chubbuck and Larry Moss will return to 16th Street this year and we are delighted to announce an additional Masterclass with New York acting teacher, Susan Batson

Our flagship course – the Full Time Program – continues to lead the way in actor training as the first course in

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Our Creative Services initiative launches this year, with expanded industry mentorship, dramaturgical consultations and comprehensive seminars and lectures In addition, we are offering showreel shoots, editing facilities and self-testing/audition services from our newly-equipped casting studio

We are dedicated to rigorous training and the pursuit of excellence at 16th Street While acting is a chal-lenging profession, we believe when actors are well trained, well prepared and well supported, they flourish It is our responsibility to provide a safe and supportive environment for actors to do so

KiM KRejus & jAMie ZAMudioCo-Directors of 16th Street

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Why hAve MeMbeRship?

We are proud of the community of actors that has developed around 16th Street and pride ourselves on providing an ‘artistic home’ But we have identified that actors in Melbourne need quality training as well as guidance and support in forging their careers

With this in mind, we launch 16th Street Membership – which offers numerous initiatives to educate, support and empower actors in their career, as well as the option to take multiple classes at a heavily reduced cost

ALReAdy A MeMbeR?

When you you enrol in any course* at 16th Street, you are automatically a member and can start taking advan-tage of the benefits right away

* Membership applies to all course of 8 weeks or more It does not apply to shorter courses, workshops or masterclasses

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16th stReet MeMbeRship

join the 16th st MAiLing List: WWW.16thstReet coM.Au

WhAt ARe the benefits?

When you enrol in any 8-week program, you also receive:

p 50% off any weekly Voice, Movement or Alexander class. See page 23.

p Free Industry Seminaron navigating a career. See page 35.

p Free Film Analysis classes. See page 35.

p Free Guest Lectures with a visiting industry luminary. See page 35.

p Discounts to audit all Masterclasses and selected Scene Study classes. See page 25, 21.

p 75% off rehearsal room hire. See page 39.

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16th Street does not believe there is only one approach to the craft of acting What we teach here is informed by some of the greatest acting teach-ers – both past and present – and the techniques they developed This provides a framework for actors to explore many approaches to the work

For 16th Street, the quality of teaching is as important as technique in devel-oping an actor It is in the classroom, where great risks can be taken, that the greatest developments occur

We believe great actors have a desire to reveal themselves through the characters they play The esteemed acting teacher Roy London described this revelation as ‘an actor having their souls close to their skin’

Actors must have an expansive view of the world and of themselves They

need deep self-awareness, curiosity and insight While it takes courage to access all the thoughts, experiences and feelings that live deep within us, it is essential for an actor to do so in order to tell stories and reflect our shared human experience

We believe that mastering the craft of acting requires not just talent, but hard work It is a life long pursuit

When talented actors have a respect for the craft of acting and develop technique, they have the potential to excel There is nothing dry about technique It is what frees an actor’s talent Technique gives actors a way to prepare, rehearse and work so they can live truthfully, spontaneously and dynamically in the given circum-stances of the characters they play

ouR phiLosophy

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the fuLL tiMe pRogRAM

ouR styLe: We are privileged to have a faculty comprised of many of Australia’s most accomplished actors and directors, as well as highly trained and experienced teachers Our faculty is pas-sionate and committed to the personal development of every actor on the program

the fuLL tiMe pRogRAM, our premier course, offers the most

comprehensive training at 16th Street in the craft of acting This

in-depth program produces accomplished actors with a deep

understanding of the craft Graduates are known for standing out in the

audition room for their skill and the complexity of their performances

content: The program utilises a comprehensive balance of traditional and contemporary techniques in acting Among the various approaches to acting craft (see Core Study Areas), the creative muscles are exercised vocally, physically and emotionally In conjunction with the artistic development of our actors, an emphasis is placed on the practical demands of the industry, including audition tech-nique, screen craft and extensive career mentorship

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I entered this program hoping it would launch my career, but I was unprepared for how profoundly the journey would shape me as a person. The respect for the work and the discipline it requires are now so deeply ingrained in me, I carry it wherever I go. My mentors showed me how noble it is to be an actor. This training has taken me to places I genuinely never thought possible. Now when I walk on a set or into a rehearsal room, I feel supported and prepared.

dAvid hARRison 2011 Graduate – The Full Time Program

AppLicAtions open: MARch 1, 2012

AppLicAtions cLose: june 15, 2012

pRogRAM dAtes: juLy 2012 – june 2013

cLAss tiMes: 8:00 AM – 5:30 pM MondAy - WednesdAy

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coRe study AReAs:p Lee Strasberg Technique

p Uta Hagen Technique

p Ivana Chubbuck Technique

p Susan Batson Technique

p Yat Malmgren’sCharacter Creation

p Mike Leigh’s method of character creation

p Script Analysis &Foundation Studies

p Movement

p Alexander Technique

p Voice and Accent

p Comedy

p Screen Performance

p Career Mentorship,Industry Seminars & the Business of Acting

p Film Shoot

Actors further benefit from being exposed to the industry, making contact with emerging directors and writers, and by participating in script readings, castings and film shoots

Allow me to propose a few suggestions about how to handle the natural resistances that your circumstances might offer. Do not assume that you have to have some prescribed conditions to do your best work. Do not wait. Do not wait for enough time or money to accomplish what you think you have in mind. Do not wait for what you assume is the appropriate, stress-free environment. Do not wait for maturity or insight or wisdom. Do not wait until you are sure you know what you are doing. Do not wait until you have enough technique. What you do now will determine the quality and scope of your future endeavors.

Anne Bogart

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the fuLL tiMe pRogRAM

The ‘full-time journey’ is a once in a lifetime experience of self-discovery and learning. Not only does it open doors for you as an artist, you become a part of the nurturing support system of 16th Street. You are encouraged to never stop discovering. Every day I learn something extraordinary about myself, the characters I inhabit and the world of my script. This studio makes you love the work, work hard and never stop trying.

tAyLoR feRgusonCurrent Actor – The Full Time Program

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Good coffeeSt Ali, 2-18 Yarra Place South Melbourne

Post opening night brekkieThe Galleon 9 Carlisle Street, St Kilda

Lazy Sunday Cavallero 300 Smith St, Collingwood

Vego brunch Monk Body Dharma Rear 202 Carlisle St, Balaclava

Pre-theatre drink The Malthouse Bar & Kitchen 113 Sturt Street, Southbank

Swish night outCumulus Inc 45 Flinders Lane, Melbourne

Cheap pizzas The Lucky Coq 179 Chapel Street, Prahran

Old-fashioned treats Beatrix 688 Queensberry Street North Melbourne

Night on the town(disco/diner/pub) The Bottom End 579 Little Collins Street, CDB

New York Style Cocktails The Everleigh Level 1, 150-156 Gertrude Street Fitzroy

Budget dinnerMoroccan Soup Bar 183 St Georges Rd, Fitzroy North

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fAve ActoR hAngouts

“At RMIT Professional Screenwriting, our students have been enriched by their collaboration with 16th Street. Screenwriters need to hear their work performed and that’s been the cornerstone of our relationship. To hear a dedicated cast of performers read a screenplay as the trams rattle past below is a thrilling and rewarding experience.

We are indebted to 16th Street for the wealth of talent they bring to each reading and the candid insights and wisdom they offer each writer - their dedication is marvellous.”

john ReevesTeacher, Professional Screenwriting, RMIT

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“A director’s ability to work with an actor is paramount at all stages of filmmaking. By combining the actors from 16th Street and my film and television directors in audition and script workshops, we have produced wonderful results. Many of the actors have found work in the short films made by our graduating students. It’s vital that a relationship begins between the actor and writer/director as early on as possible on productions. These relationships are what move industries forward.”

sAndRA scibeRRAsLecturer, VCA School of Film & Television

the pARt tiMe pRogRAM

ouR styLe: We are privileged to have a faculty comprised of many of Australia’s most accomplished actors and directors, as well as a group of carefully selected teachers who are highly qualified in their specific fields Our teachers are committed to the personal development of every actor on the program

the pARt tiMe pRogRAM, is a comprehensive course for committed

actors who require greater flexibility than full-time study allows

Delivered over 18 months, this program transforms talented actors

into accomplished professionals - trained in all areas of craft and

industry, with a particular focus on screen performance Although

this program is offered part-time, it requires enormous dedication

and discipline to meet its many challenges and opportunities

content: The program encompasses a number of approaches to acting craft (see over) and is supported by movement, voice and comedy components Imbedded in this is an emphasis on the practical demands of the industry, including audition technique, actor-director relationships and career mentorship

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16th Street’s commitment to the art of acting is unlike any other studio I’ve trained with. I’m a professional actor who has studied at two of Australia’s leading Drama Schools and I continue to find the work at 16th Street challenging and rewarding. It has complemented and expanded my previous training and skills, aligning me in a new way with what it means to be an actor and an artist.

The time evidently taken by the 16th Street team in designing, implementing and enhancing their courses is second to none.

AdRiAn AuLd VCA Graduate and Current Actor Part Time Program

AppLicAtions open: octobeR 1, 2012

AppLicAtions cLose: noveMbeR 30, 2012

Audition dAtes: deceMbeR 2012

pRogRAM dAtes: febRuARy 2013 – june 2014 (6 teRMs)

coRe study AReAs:p Lee Strasberg Technique

p Ivana Chubbuck Technique

p Character Creation: Yat Malmgren’s Approach

p Susan Batson Technique

p Screen Performance

p Voice & Accent

p Movement

p Alexander Technique

p Mentorship, Seminars &the Business of Acting

p Comedy

Acting is the most personal of our crafts. The make-up of a human being - his physical, mental and emotional habits - influence his acting to a much greater extent than commonly recognized.

Lee Strasberg

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the pARt tiMe pRogRAM

When I returned from LA, I searched for an acting studio in Australia that taught solid acting technique as well as nurtured the intuition and creativity of the artist - a studio that focused on the actor as a whole. I started to think that such a place didn’t exist… and then I found 16th Street.

Since beginning the program I have grown both personally and artistically, and have much more confidence as an actor. It has provided the ideal way to fit training around my shooting schedule [for Winners & Losers]. 16th Street is the best thing I have ever done for my career and I look forward to continuing training here for years to come.

sARAh gRAce Current Actor - Part Time Program

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tony Knight inteRvieW was unified And Lucy Durack did a

marvellous job in Wicked Musical theatre actors are often not singled out for their work, which is regrettable, because it’s fine work and very dif-ficult to do well

WhAt is the iMpoRtAnce of ActoR tRAining?

It’s essential More than ever it’s essen-tial A gifted performer can sometimes give you a great first performance or inventive interpretation of character They show us what they are capable of – and that’s great But a trained actor channels that natural ability to interpret a slew of new characters and can sustain a performance over weeks or months of a shoot or theatre season Repetition is demanding and it is tech-nical Trained actors are prepared for this, and additionally can offer directors a variety of choices The work involved in developing technique means that trained actors are self-disciplined, collaborative, professional, and have a method of approach that can go deeper in the exploration I don’t sub-scribe to one method as being better than any other - different techniques will be useful at different times

Tony Knight is one of Australia’s most celebrated acting teachers In his tenure as Head of Acting at NIDA for over 20 years he nurtured the talent of many of Australia’s most celebrated contemporary actors, including Cate Blanchett, Sam Worthington and Toni Collette (among many others) He is currently Head of Musical Theatre at La Salle College of the Arts in Singapore

WhAt peRfoRMAnces hAve iMpRessed you LAteLy?

Susie Porter and Dan Wyllie in Summer of the Seventeenth Doll immediately spring to mind It is disarmingly rare to be moved in the theatre We’re very often intellectually stimulated, but not often do we get the catharsis we secretly hope the theatre will deliver This Belvoir Street (Sydney) production was incredibly moving Also, the entire cast of ABC’s The Slap was wonderful – genuine ensemble acting It’s a very common failing for most ensembles to be in entirely different productions, each actor in their own version of events The Slap

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WhAt MAKes good theAtRe?

We all seek to be stimulated by the work and we also want to be moved - to have an emotional release But to be profoundly affected by the theatre, we need to move away from being lectured or patronised – emotion-ally or intellectually - and rather be inspired and touched by the work And that lies in specifics rather than generalities, in hard work and not emotional manipulation Modern theatre tends to be ‘clever’ but not arresting You can see the director or writer pulling the strings, wanting to be seen and you see actors ‘acting - showing you their cleverness But we surely tell stories to hold a mirror up to nature – to have the action suit the word and the word the action (to paraphrase Shakespeare)

WhAt Advice WouLd you give to An ActoR stARting out?

Read Expand your imagination and your imaginative resources Be tenacious Be self-motivated Read a play, see a film, listen to a new piece of music a week, at least Go to the theatre as often as you can Accept responsibility for your own art – no one else is going to! Work against the ‘anti-art’ of reality TV that dominates society, with its aggressive competition and deliberate lowering of the bar Raise the bar! I have tremen-dous faith in Gen Z They’re confident and very generous

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gReAt texts on Acting

The Technique of ActingStella Adler

Truth, Susan Batson

The Art of the ActorJean Benedetti

A Practical Handbook for the Actor, Melissa Bruder, et al

Acting in Film, Michael Caine

The Power of the Actor Ivana Chubbuck

How to Get the Part – Without Falling ApartMargie Haber

Respect for Acting, Uta Hagen

A Challenge for the ActorUta Hagen

Acting Class, Milton Katselas

Method or Madness, Bobby Lewis

True and False: Heresy and Common Sense for the ActorDavid Mamet

On Acting, Sanford Meisner

The Intent to Live, Larry Moss

An Actor Prepares: Building a Character and Creating a RoleConstantin Stanislavski

A Dream of Passion: The Development of The MethodLee Strasberg

scene study16th Street offers a variety of scene

study classes that focus on specific approaches to the work These classes are vital to a professional actor’s ongoing development – they offer an opportunity to sustain your artistry, develop technique and be challenged to grow Actors are placed in a class that is appropriate to their skill level

AdvAnced scene study

Designed for experienced actors with a high level of skill, these classes challenge actors to take their work to a level of excellence by working on some of the greates plays ever written Scenes are thoroughly explored and actors are guided in how to make dynamic choices and honour the world of the play and the playwright

stRAsbeRg/bAtson scene study

This class follows on from Strasberg Sensory Class and adds the key principals of Susan Baston’s tech-nique to scene work Actors may also work on Batson’s character exploration exercises

chubbucK scene study

This class applies the principles of the renowned Chubbuck Technique to scene study It is designed for actors already familiar with the 12 steps of the technique who already have training in technique and/or relevant experience (please note, we offer an introduction to Chubbuck Technique in our Studio Classes)

diRectoRs’ scene study

This class offers actors opportunities to work with a diverse and exciting range of acclaimed Australian film and television directors Working in front of the camera, actors strengthen their performances under informed direction while developing a greater understanding of how to fulfil a direc-tor’s vision

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1. foundAtion pRogRAM

The Foundation program is designed for actors at the beginning of their artistic journeys Actors will be taught technique as developed be legendary acting coach Uta Hagen Through a series of craft-based exercises, this program will teach actors how to per-sonalise the given circumstances and how to realise a scene In addition, actors work on movement and voice studies and the Alexander Technique

2. stRAsbeRg / sensoRy WoRK

This is an introduction to Lee Strasberg’s method of active relaxation and sensory work Actors are guided through a series of sensory exercises designed to give them access to their rich emotional life In addition, actors are supported in exploring emotional freedom and heightening their sensory awareness Coaches such as Larry Moss consider this work an essential foundation for all actors

3. chubbucK technique

This class is an introduction to the 12 steps of Ivana Chubbuck’s Technique It gives actors an under-standing of the technique and its practical application to text Through exercises and scene work, actors new to this technique will gain a thorough grounding in this innovative approach (Actors who already have experience in this technique should see our Scene Study Classes)

4. cAMeRA cLAss

This class is designed to instruct actors in the art of great cinematic performance By working on scenes from film and television, actors are taught skills specific to film, such as physical and emotional continu-ity, sustaining and building up to a performance level, and adjusting performance to the size of shot

5. coMedy/iMpRo cLAss

These classes will unlock your spontaneity as a performer Inspired by the teachings of Keith Johnston from Canada and Second City Improv, Chicago, Jimmy James Eaton (stand

teRM 1: 30 jAn–23 MAR teRM 2: 9 ApRiL–1 june teRM 3: 18 june–10 Aug teRM 4: 20 Aug–12 oct teRM 5: 22 oct–14 dec

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teRM 1: 30 jAn–23 MAR teRM 2: 9 ApRiL–1 june teRM 3: 18 june–10 Aug teRM 4: 20 Aug–12 oct teRM 5: 22 oct–14 dec

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studio cLAsses

up comedian and Artistic Director of the Big HOO-HAA Melbourne) will guide you to advanced Impro Comedy and truth in your performance, giving you an invaluable artistic edge in eve-rything from auditions and rehearsal to performance and every day life

6. us Accent cLAss

These classes will guide you through a systematic and thorough approach to learning, developing and applying a US dialect Most Australian actor needs a flawless US dialect, yet so few have perfected it so they are not disadvantaged when they test for American roles

7. voice cLAss

Based on the work of various voice master teachers (including Kristen Linklater, Cicely Berry, Patsy Rodenburg and David Carey) these weekly classes provide an essential workout for one of the most powerful and important instruments an actors has – their voice

8. MoveMent cLAss

These classes introduce, develop and expand the fundamental qualities of movement for actors They help actors find increased awareness, availability, mastery and creative expression in their bodies, as well as focusing on energy, tension, charisma and meaning in movement

9. ALexAndeR cLAss

The Alexander technique is fundamental to the training of actors in major drama schools around the world Acting coaches such a Larry Moss consider weekly Alexander classes essential for every actor Through Alexander Technique classes you will develop skills for how to free your voice and free your body

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Must ReAd pLAys

The Aliens, Annie Baker

Angels in America, Tony Kushner

Apologia, Alexi Kaye Campbell

Burn This, Lanford Wilson

Cloud Nine, Caryl Churchill

Coast of Utopia, Tom Stoppard

Death of a SalesmanArthur Miller

The Dumb Waiter, Harold Pinter

the dreamer examines his pillow, John Patrick Shanley

The Heidi Chronicles Wendy Wasserstein

In the Next Room Or: The Vibrator Play, Sarah Ruhl

Red, John Logan

Red Light Winter, Adam Rapp

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MAsteR cLAsses

ivAnA chubbucK eLLen buRstyn LARRy Moss susAn bAtson

Our Masterclass program brings the world’s leading acting coaches

to Australia In 2012 we will host Masterclasses in both Sydney

and Melbourne, with a line-up of 4 teaching luminaries These

Masterclasses attract some of Australia’s finest actors– from highly

experienced actors to emerging talent

hoW cAn i pARticipAte?

Our Masterclasses attract applicants of varied experience levels We encourage everyone to apply and to provide as much supporting information as possible to help with the selection process

cAn i WAtch the MAsteRcLAss?

We open all our Masterclasses to auditing (observing), which is commonplace in the UK and USA In fact, we encourage it! This provides actors of varying levels of experience an opportunity to learn from a world-class teacher while watching experienced actors perform

ivAnA chubbucK

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Ivana Chubbuck is one of the world’s most celebrated teachers, known

for her work with acclaimed actors including Academy Award winners and

nominees Halle Berry, Brad Pitt, Charlize Theron, James Franco, Terence

Howard, Jake Gyllenhaal, Elisabeth Shue, Catherine Keener, Kate Hudson,

Jon Voight and Djimon Hounsou

Ivana has the ability - through her particular insight into human behavior– to

access buried areas within an actor that allow them to be powerful, dynamic

and to create characters that are unique and personal Ivana is not content

with a good performance; she seeks greatness from the actor

Her Australian Masterclasses have attracted some of the most experienced

actors in the country and have been audited by hundreds more – everyone

equally impressed by her incredible insight and her ability to transform an

actor’s performance

ivAnA chubbucK MAsteR cLAss jAnuARy 2012 MeLbouRne

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We go to the movies, watch TV and go to the theater to see not the ordinary or dull, but extraordinary people – how a person dealing with pain and trauma overcomes and wins, by using that pain as a fuel. This is what I teach.

Ivana Chubbuck

“Ivana rekindled my love for acting by pushing me to take risks. She showed me that acting isn’t a torturous profession but a creative one, and once I made that distinction, it became a pleasurable one.”

jAMes fRAnco

“Ivana’s extraordinary work challenges actors to fully engage with their unique life experiences and to harness their discoveries as practical performance tools. Openness, insight and a brilliant sense of humour - Ivana brings them all to the table, creating a genuinely inspiring teacher/student connection.”

sigRid thoRnton

eLLen buRstyn

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We are honored to present Ellen Burstyn in her first Australian Masterclass.

Burstyn’s career began in theatre before she joined the acclaimed Actors Studio

in 1967 Here she trained under Lee Strasberg - an association that continues

today through her work and leadership of The Actor’s Studio New York

Burstyn’s performances have captivated audiences for over 50 years Her

performance in The Last Picture Show earned her an Academy Award

nomination She received a second nomination for The Exorcist and won the

Academy Award the following year for her work in Martin Scorsese’s Alice

Doesn’t Live Here Anymore

In 1975, she won the Tony Award for Same Time, Next Year, later receiving

a Golden Globe Award and a fourth Academy Award nomination for her

performance in the film version Her work in Resurrection and Requiem for

a Dream garnered two more Academy Award nominations

As the Artistic Director of the Actors Studio in New York and Co-President of

the Studio (alongside Harvey Keitel and Al Pacino) she has taught hundreds

of actors, some of whom are among the biggest names of stage and screen

eLLen buRstyn MAsteR cLAss febRuARy 2012 sydney

Triple crown winner of the Tony, Emmy and Academy Awards and Artistic Director and Co-President of the Actor’s Studio, New York.

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My experience, what I teach, is that if you are completely present and attuned to the other actor, there’s a kind of synergy that occurs.

Ellen Burstyn

“ By far the greatest artist I have ever worked with.”

dARRen ARonofsKy(Director: Requiem for a Dream, Black Swan)

“One of the few actresses at work today who is able to seem appealing, tough, intelligent, funny, and bereft, all at approximately the same moment.” neW yoRK tiMes

LARRy Moss

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LARRy Moss is one of the Most sought AfteR And infLuentiAL Acting coAches of ALL tiMe.

He has been an actor, director and acting teacher for over 35 years and is

coach to Leonardo DiCaprio, Hilary Swank, Tobey Maguire and Helen Hunt,

to name a few

We are thrilled to bring Larry back to Melbourne following a stellar 2011

Masterclass and also announce his first Sydney Masterclass

his pRocess: Larry has the ability to connect actors to themselves and

their characters by taking them into the world of the playwright, instill-

ing a passionate commitment to serve the story He picks up the mantle

from Stella Adler and Sanford Meisner (both of whom he trained with)

and unleashes the actor’s imagination, resulting in performances that are

powerful, authentic and career-changing

This scene-study Masterclass will see actors work on superbly written

material Larry has a passion for excellent writing and believes it is through

such material that an actor is stretched and can truly grow as an artist

LARRy Moss MAsteR cLAss Mid 2012 MeLbouRne & sydney

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“The Larry Moss Masterclass was quite simply the most extraordinary experience of my professional life. I’ve always wanted to work this way, and felt so happy to know that it is actually possible. It should be compulsory for directors in all media to attend. Actors are asked for so little and are capable of so much, and audiences don’t know what they’re missing. An inspirational, life-changing experience.”

noni hAZLehuRst

That’s what our work can do: we remind people that things can change, that wounds can heal, that people can be forgiven, and that closed hearts can open again.

Larry Moss

“Larry’s unwavering commitment to his craft, his encyclopedic knowledge of the arts, and his sincere enthusiasm for the art of acting itself make his process exciting, inspiring and truly transformational as an actor.”

LeonARdo dicApRio

susAn bAtson

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susAn bAtson MAsteR cLAss August 2012 MeLbouRne

Susan Batson has worked as personal acting coach to Juliette Binoche, Tom

Cruise, Jamie Foxx, Jennifer Connelly and Liv Tyler, among many others

Nicole Kidman credits her work with Susan as instrumental to her Academy

Award-winning performance in The Hours

Susan studied with Herbert Berghof, Uta Hagen and Lee Strasberg and

her work is greatly influenced by these master teachers Indeed it was Lee

Strasberg who insisted Susan move into teaching, witnessing her enormous

talent for articulating the process

Today she is one of the most sought after acting coaches in the world Her

unique approach speaks right to the heart of actors – examining each of our

human experiences to enable actors to build layered, complex characters to

serve a story

heR pRocess: Her aptly named book “Truth” reflects the basis of Susan’s

approach to the craft It is her exploration of the building blocks of

character that leads actors to a place of piercing truth and dynamism in

their work With these tools, an actor can create characters with depth,

humanity and individuality

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“You embrace work like no one else, your vision is a commitment to the human beings you’re working with, but also to the art. You know how to transform us, you see beyond, ready to share your discoveries with your heartful sensibility. Thank you Susan, you are a true inspiration.”

juLiette binoche on susAn bAtson

You don’t get nominated for an Oscar… you don’t win an Oscar unless (your performance) has that universal connection.

Susan Batson

“I am confident Susan Batson will go down in history as one of acting’s legendary teachers.”

nicoLe KidMAn

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schooLs in the usA

Larry Moss Masterclasseswww larrymoss org

Ivana Chubbuck Studio www ivanachubbuck com

Margie Haber Studioswww margiehaber com

Carter Thor Studio www carterthostudio com

Scott Sedita Acting Studioswww scottseditaacting com

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Los AngeLes

16th stReet RecoMMends

neW yoRK

T.Schreiber Studiowww tschreiber org

Tisch School of the Arts at NYUwww gradacting tisch nyu edu

HB Studio www hbstudio org

Strasberg Theatre & Film Institutewww strasberg com

Stella Adler Institutewww stellaadler com

Susan Batson Studiowww susanbatsonstudionyc com

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fiLM studies

Film Studies evenings offer select screenings of seminal and significant films across various eras, genres and cultures by some of the world’s great-est filmmakers The screenings are accompanied by a rich analysis of the film, as well as Q&A and discussion opportunities These evenings give actors a greater understanding of the art of filmmaking and expose actors to exceptional films they may have not yet seen

industRy seMinARs

These detailed seminars will offer information and advice in all matters pertaining to the industry 2012 will see a series of seminars on navigating your career, navigating a relationship with your agent and casting consult-ants, headshots & showreels as well as lectures by casting directors, network TV producers, agents and representatives from LA, to better equip you in your career

guest LectuRes

This series of seminars provides a thorough insight into a professional actor’s working life and process Scheduled every second month, each comprises a candid interview with a celebrated actor about their career and approach to the craft Previous guests have included Rose Byrne, Sigrid Thornton, Colin Friels and Asher Keddie

The fee for these events is waived for members of 16th Street (currently enrolled in a class or program)

otheR events

be the fiRst to heAR About upcoMing events. join the 16th stReet MAiLing List: WWW.16thstReet coM.Au

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dvd night

Here are some of our favourite must see films from 2011 If there is one you’ve missed, pick it up for your next movie night at home:

The Fighter The Ides of March Drive We Need to Talk about Kevin The Tree of Life Pina (Documentary) Another Year Winter’s Bone The Way Back Bridesmaids Snowtown Sarah’s Key (France) The Round Up (France)

It’s not enough to have talent. You have to have a talent for your talent.

Stella Adler

Find in yourself those human things which are universal.

Sanford Meisner

We must overcome the notion that we must be regular... it robs you of the chance to be extraordinary and leads you to the mediocre.

Uta Hagen

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pRivAte coAching

Private coaching is offered for actors requiring assistance preparing for an audition or role A number of our key faculty members are available for coaching in their respective methods of work

cAReeR consuLtAtions

Actors often feel overwhelmed by the professional demands of the industry This consultation service has developed in response to actors’ requests to be more suitably equipped and empowered in dealing with the professional obligations that attend this business

These one-on-one sessions offer actors invaluable feedback and guidance on how best to navigate their career It includes personal appraisal of headshots, CVs, showreels and training plans, and offers actors specific, pragmatic advice from representation and managing a career, to publicity and media training

cReAtive seRvices

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shoWReeLs

Showreels exist for one reason and one reason only: to show your skill It is imperative that actors at any stage of their careers have a showreel demonstrating their best work to date It requires great skill to compile an effective showreel

16th Street is offering new Showreel Services – this includes editing existing footage to create an accurate representation of you and your ability, through to producing purpose-shot reels under the guidance of a producer and a highly experienced acting coach, using carefully selected scenes

seLf-tests

Self-test auditions have become a widely acceptable and accessible method of auditioning for roles you may not otherwise have ever been able to submit for in person However, it is imperative that self-tests are well shot, directed and edited to get you to a short list

A self-test at 16th Street will simplify this process for you, and ensure that you submit the best possible repre-sentation of yourself

A SESSIoN IN oUr PUrPoSE-fIT CASTINg STUDIo INCLUDES:

p Shoot on high resolution JVC digital camera

p Professional grade ARRI lighting and state of the art sound

p Trained camera operator p Edited final takep Upload to site of your

choice & email link, transfer to your storage device, DVD, or upload to Showcast database (exclusive to 16th Street).

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studio hiRe

16th Street Actors Studio in Caulfield South has three unique studio spaces available for hire

These spaces are ideal for rehearsals, castings or film and photo shoots Each is equipped with stage lighting

A large rehearsal room that can also seat 150 guests

A rehearsal / performance studio with tiered seating for 45 people

A fully fitted casting studio or rehearsal room

THE foLLoWINg oPTIoNS ArE AVAILABLE WITH STUDIo HIrE

p LCD TVs

p Data Projector

p HD Camera

p Audio Equipment

cReAtive seRvices

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the pegAsus foundAtion

the pegAsus foundAtion— suppoRting the peRfoRMing ARts

The Pegasus Foundation is an independent philanthropic organisation established in 2010 by 16th Street Actors Studio The purpose of the Foundation is to contribute to the performing arts in Australia by provid-ing training scholarships to exceptional actors, teachers and writers This initiative grew from our passionate belief in supporting and main-taining local talent for the advancement of the wider arts community

The list of generous benefactors to this enterprise includes Hugh Jackman, Jane Turner, John Davies and Susan Gorrence, among other esteemed patrons of the arts

The Pegasus Foundation is a not-for-profit organisation and its funds are managed and distributed by an independent committee with a wealth of experience and expertise in the arts or financial services industries Committee members include Ms Sigrid Thornton, Ms Noni Hazlehurst A M , Mr Peter Marks, Mr Peter Cooper and Ms Leanne Over

Funds are disbursed annually through grants and scholarships

The foundation’s work would not be possible without the incredible generosity and ongoing support from our founding benefactor, Heloise Waislitz and The Pratt Foundation.

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New York Film Critics January 9

Golden Globes January 15

Sundance Film Festival January 19 – 29

Screen Actors Guild Awards January 29

BAFTAs February 12

Independent Spirit Awards February 25

Academy Awards (Oscars) February 26

Cannes Film Festival May 16-27

Logie Awards May

Mo Awards May

Tony Awards 10 June

Emmy Awards September

Venice Film Festival September

The Helpmann’s September

Inside Film Awards (IF) November

AACTA (AFI) Awards December 2

2012 AWARds seAson

© 2011 16th Street Actors Studio

For more information regarding our Programs, Courses or Creative Services, please contact 16th Street Actors Studio:

Studio: 715 Glenhuntly Rd Caulfield South, VIC 3162 Phone: (03) 9533 0216 Email: admin@16thstreet com au

www.16thstreet.com.au

Australia’s Premier Actors’ Directory for over 50 years

www.16thstreet.com.au